A study of Daphnis & Chloe by R. L. Hunter

By R. L. Hunter

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VvKToe; Toivvv Kat r)Jl€pae; rr€paTa €rrWK01rei, Tilv Jl€V aiJToe; oatOOuxoe; Te Kal r)'YeJlWv Tf/c; lJl/lewe; 'YL'YvOJleVOe;, rilv Of €T€pOLe;rrapLeie;' ap'Ywv 0' iJJlwe; OVO' oi5rwe;, aet 0' €V €/JOpaL Kat KLV'I7aeL TOV alwva OL€~€pxeraL. rrpea(3VraToe; O€ wv (Jewv aiJ'roe; Kat vewraToe; €aTW, Tf/c; 0' aet rrapovaT/e; wpae; Kat JlQipae; €/JiAoe;. (Aristeides, Or. 12-13 K) This passage shares with Longus both certain ideas about Eros (his connection with Dionysus, his paradoxical age) and a debt to Plato's Symposium,54 and it illustrates clearly the well-trodden path which the Longan Philetas follows.

LifJwv iK€Tat, Tile; ~€ elKoVoe; OeaTal, just as we will both read and 'see' the literary elKwv. L110te; and this is part of the second major function of Longus' presentation of his work as a painting. The link between poetry and painting was commented upon at least as early as the famous dictum of Simonides that painting was silent poetry and poetry painting that talked. D. MnKaXov. " l)'1}v €V eKciaTwt. at.. 7rI/OVV avatJitaw Kai. XaXovaav elKova, oiJroL c5LaT1i~a~ KT/POV, aXX' el7rwv f7rT/. (GDRK XXX.

For the ancients o),"A:rrropia was simply 'saying one thing and meaning another',92 and it is my impression that this is not something which Longus often does. The 'mystical' element in the novel is something to which Longus openly calls our attention in unambiguous language. Further support for the view that Longus wants us to see his painting/novel as an allegory has been found in the fact that he needed an e~l1'Yl1Tizc; to explain the painting to him, but this word need mean no more than 'museum guide'93 and the necessity for such a guide is, in the context of the fiction which Longus sets up, an obvious one; the narrator has added the T€XVl1 (cf.

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